[DeeAa[_3_]]

I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum.

Maybe a shared tom mic would be better, use 2 for kick?

Cheers,

Dee

[Federico]

Try this if you like:

1) Kick
2) Snare Top
3) Snare bottom (it really depends on the kind of music you are playing)
4) Tom 1&2
5) FloorTom
6) OH / Ride
7) OH / HH
8) One figure of 8 mic in front of the kit used like in a M/S but without
the "M". You can use this as the "room" mic.

F.

[Mike Rivers]

On Sep 24, 7:35 am, DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum.

One snare, seven room?

It all depends on the drum sound that you want, and that's largely
dependent on the drummer and his drum setup. No generalizations here.

[Tom Jancauskas]

in article
, DeeAa at
wrote on 9/24/08 6:35 AM:

I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum.

Maybe a shared tom mic would be better, use 2 for kick?

Cheers,

Dee


In the room we were recording in at at the time:

1.Kick
2. Snare Top
3.Tom 1
4.Tom 2
5.Tom 3
6. OHL
7. OHR

Then we would submix all of these to a stereo pair on the 8 track with the
reverb we wanted to hear on the final mix.

Yes planning ahead was necessary, but worth it when you could push up 2
faders & have a balance of the drums ready to go.


Sometimes when tracks were tight we ran the submix mono.


Being able to have all of the drums separate later was a luxury we had very
seldom...


--
Tom Jancauskas
Imedia

[Romeo Rondeau[_4_]]

DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum.

Maybe a shared tom mic would be better, use 2 for kick?

Cheers,

Dee


What style of music? Is there a nice room? How big is the drumkit? It's
gonna be real hard to answer this question without more information, but
here's my $.02:


If it's jazz or something like that in a nice room, use 4 mikes and 4
tracks, kick, snare and two overheads. Don't mike so close... what I
mean is that I've seen some guys put the mikes 1/2" from the drumheads,
that's too close... back them off and let the mike see more of the drum
head. Don't get too close to the cymbals with the overheads, either. In
the mix you are gonna start by using the overheads first and them bring
the kick and snare mikes in for balance.

Now for the other end of the spectrum... If it's something more pop,
rock or country in a dry room (assuming a 5 piece kit)

1. Kick
2. Snare
3. Hat
4. Tom1
5. Tom2
6. Tom3
7. OH L
8. OH R


You situation is more likely in between these two. You don't really need
a mike on the bottom of the snare if the drums are set up on a wooden
floor, you will get reflected sound into all of the mikes from the floor
(a particularly nice sound usually), but don't let me stop you... there
are lots of people who use a mike on snare bottom and top and their
drums sound good too.

[Geoff]

DeeAa wrote:
I was thinking 2 overs, 2 for snare up/under, 3 for each tom,
kickdrum.

Maybe a shared tom mic would be better, use 2 for kick?


Shared tom mic usually means that neither tom sounds good.

I start with 2 oh, kick, snare top, and hat. Then I usually don't end up
using the last two.

geoff

[DeeAa[_3_]]

OK Guys, thanks...I shoulda elaborated some...

The room is pretty much crap; concrete box with some damping, but
definitely don't want room sounds.
It's already a challenge to locate all that resonates when recording
and tape it down in the room.

Music is hard-rock, grunge type music. Hard-hitting drummer indeed.

What I gather from your replies, it seems a separate mic for hi-hat
might be a good idea?

So overs, 1 for snare, 3 for toms, kick AND hi-hat instead of 2 for
snare, hi-hat from overs alone. I worry some about leakage, the mics
aren't that good.

I think I'll try it both ways. Track number is unlimited but 8 inputs
only.

Cheers,

Dee

p.s. would you use a large-diaphragm mic like an AKG 414 for snare, or
rather the regular SM57?

[WillStG]

On Sep 25, 12:54*am, DeeAa wrote:
OK Guys, thanks...I shoulda elaborated some...

The room is pretty much crap; concrete box with some damping, but
definitely don't want room sounds.
It's already a challenge to locate all that resonates when recording
and tape it down in the room.

Music is hard-rock, grunge type music. Hard-hitting drummer indeed.

What I gather from your replies, it seems a separate mic for hi-hat
might be a good idea?

So overs, 1 for snare, 3 for toms, kick AND hi-hat instead of 2 for
snare, hi-hat from overs alone. I worry some about leakage, the mics
aren't that good.

I think I'll try it both ways. Track number is unlimited but 8 inputs
only.

Cheers,

Dee

p.s. would you use a large-diaphragm mic like an AKG 414 for snare, or
rather the regular SM57?

Well if the drummer whacks your 414, you're out one of your better
mics. The 57 is fine most of the time anyway. Drums recorded in a
box such as you describe, especially cymbals tend to lack an open
sound. You can open that up a bit if you use an omni pattern on the
overheads, even close miced. MS is cool too if you have a pair of
414's, you can enhance the stereo width later. Alternately if you
have a PZM or omni lavaliers, you can tape them to a low ceiling,
maybe with a baffle between them.

Will Miho
NY TV/Audio Post/Music/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits
"The large print giveth and the small print taketh away..." Tom Waits